Gonçalo Lamas

A group of figurines from the Musée de l’Armée in Paris join Napoleon during his expedition in Egypt. The film explores political issues related to militarism and colonization, challenging traditional historical narratives.

Anchored to the heart of the King’s Cross redevelopment in London, the film takes the viewpoint of an arbitrary surveillance camera to trace the many flows of a privately-managed but public-facing square.

Young Astyanax was there too, in the cold heights of this oracle, headphones on as ever, listening to a broadcast from afar. One year after the war in Troy. In the cinema, we listen along to the story of a king in love with a queen whose man and country his sword slayed. A chain of dialogues where desire mocks political duties.

Anchored to the heart of the King’s Cross redevelopment in London, the film takes the viewpoint of an arbitrary surveillance camera to trace the many flows of a privately-managed but public-facing square.

Young Astyanax was there too, in the cold heights of this oracle, headphones on as ever, listening to a broadcast from afar. One year after the war in Troy. In the cinema, we listen along to the story of a king in love with a queen whose man and country his sword slayed. A chain of dialogues where desire mocks political duties.